20142015
SEASON
DAVID ALAN MILLER, MUSIC DIRECTOR
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DAVID ALAN MILLER p16
O
R
G
I
N
The OppOrTuniTies
Are There if YOu KnOw
where TO LOOK
WHAT’S INSIDE
12 _ _ _ _ _ _ _ _ MESSAGE FROM THE MUSIC DIRECTOR
13 _ _ _ _ _ _ _ _ _ _ MESSAGE FROM THE BOARD CHAIR
16 _ _ _ _ _ _ _ _ _ _ _ DAVID ALAN MILLER BIOGRAPHY
JOYCE YANG p42
19 _ _ _ _ _ _ _ _ _ _ _ MUSICIAN HOUSING PROGRAM
23 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ORCHESTRA PERSONNEL
28 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ MUSICIAN SPOTLIGHT
JOSHUA BELL p35
We’ll guide you to success across Upstate New York and Massachusetts.
ALBANY SYMPHONY MUSICIANS p28
30 _ _ _ _ _ _ _ _ _ _ _ _ _ 2014-2015 CONCERT SERIES
31 _ _ _ _ _ _ _ _ _ _ _ "OPENING WEEKEND" PROGRAM
32 _ _ _ _ _ _ _ _ _ _ _ _ _ "OPENING WEEKEND" NOTES
35 _ _ _ _ _ _ _ _ _ _ _ _ _ _ JOSHUA BELL BIOGRAPHY
37 _ _ _ _ _ "TCHAIKOVSKY’S 'PATHÉTIQUE'” PROGRAM
38 _ _ _ _ _ _ _ "TCHAIKOVSKY’S 'PATHÉTIQUE'” NOTES
42 _ _ _ _ _ _ _ _ _ _ _ _ _ _ JOYCE YANG BIOGRAPHY
48 _ _ _ _ _ _ _ _ _ _ _ CONDUCTOR’S CIRCLE BENEFITS
49 _ _ _ _ _ _ _ _ _ _ _ 2014-2015 SEASON SPONSORS
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The Albany Symphony Orchestra
celebrates our living musical heritage.
Through brilliant live performances,
innovative educational programming,
and engaging cultural events,
the ASO enriches a broad and diverse
regional community. By creating,
recording, and disseminating the
music of our time, the Albany
Symphony is establishing an
enduring artistic legacy that is
reshaping the nation's musical future.
50 _ _ _ _ _ _ _ _ _ _ _ _ CONDUCTOR’S CIRCLE LISTING
52 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ INDIVIDUAL GIVING
55 _ _ _ _ _ _ _ _ _ IN HONOR, CELEBRATION & MEMORY
56 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ENCORE SOCIETY
57 _ _ _ _ _ _ _ _ _ _ _ _ FOUNDATIONS, CORPORATIONS
& GOVERNMENT SUPPORT
58 _ _ _ _ _ _ _ _ IN-KIND DONATIONS /SPECIAL THANKS
59 _ _ _ _ _ _ _ _ _ _ _ _ _ _ BOARD & ADMINISTRATION
To advertise in the program:
chuckK@albanysymphony.org
2014-2015 SEASON / 9
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For information regarding auditions, programs and
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78 Washington Avenue • Schenectady, NY 12305
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Schenectady County Community College is an accredited institutional
member of the National Association of Schools of Music.
The 16,000 hands of
A L B A N Y M E D I CA L C E N T E R ’ S
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MESSAGE FROM THE
MUSIC DIRECTOR
a searing, achingly beautiful evocation of 1940s
jazz. We'll be announcing many new and exciting
features of the Festival throughout the season, so
stay tuned! Also, don't miss our glorious celebration
of community and the holidays in early December,
"The Magic of Christmas," in which the orchestra
will be joined onstage by literally hundreds of our
region's most gifted young performers. Our series
of three award-winning Sunday Symphonies for
Families kicks off at the Palace Theater on November
23rd. If you haven't brought your children,
grandchildren or young friends to enjoy these
joyous, fun-filled programs, I hope you'll give
them a try.
Thanks to the generosity of our dear friend, Dr.
Heinrich Medicus, our season opens with a very
special evening with one of the world's greatest
Dear Friends,
performing artists, Joshua Bell. In addition, all of
We are so excited to welcome you to our 2014-15
our Albany Symphony concerts now regularly feature
season. Every concert features timeless masterpieces the music world's most significant established and
and extraordinary new works, dazzling solo artists
emerging artists as soloists. If you don't yet know
and our own magnificent Albany Symphony
the names of Caroline Goulding, Amy Porter or Carol
musicians. From our mainly-Russian concert in
Jantsch, you are in for a great treat! We are also
October to a haunting and beautiful reimagining
delighted to welcome back audience favorites Colin
of Mozart's Requiem in March, from a celebration
Currie, Joyce Yang, Julie Albers and our very dear
of that unsung hero of the orchestra, the tuba, in
friends in Albany Pro Musica.
February to a roots-music celebration featuring the
Without a doubt, the most exciting aspect of all
amazing cross-over artists of "Time for Three" in April,
our concerts is the opportunity to hear our brilliant
I promise you an unforgettable season of glorious
Albany Symphony musicians, live! The orchestra has
music new and old. We will be performing many of
become a world-class ensemble, as is evident from
the greatest works in the repertoire, by Beethoven,
last season's Grammy win. The sound our orchestra
Tchaikovsky, Mendelssohn, Brahms, Dvořák and
makes is absolutely gorgeous. I hope you'll come
many others, while introducing thrilling new pieces
back over and over again throughout the season to
by many of today's very best composers, including
experience the sheer sonic glory of our extraordinary
Michael Torke, Michael Daugherty, Jennifer Higdon,
musicians.
Derek Bermel and Clint Needham. We will also be
embarking on an exciting new residency project
To all of you who attend our concerts and support
with the six brilliant young composers of "Sleeping
us in so many ways, thank you. You make our music
Giant." And we'll be pursuing our next Grammy win possible. We love our sophisticated, passionate
by recording important, never-before-recorded works Albany Symphony audience, and we are very proud
by Torke, Daugherty and Bermel.
to serve you. I hope you will join us for all of our
concerts this season, as we embark on a thrilling new
As always, our season will end with our monumental
musical adventure.
American Music Festival, which this year explores
Warm Regards,
the theme of "Migrations." We will be partnering
with the Juilliard Jazz Orchestra for Derek Bermel's
amazing "Migration Series," which celebrates the
David Alan Miller, Music Director
African-American migrations of the 1940s through
12 / albanysymphony.org
Our Celebration Continues
at the Albany Symphony!
We celebrate our 85th anniversary with a brilliant
season, beginning with a dazzling opening
night concert with Joshua Bell made possible by
Dr. Henrich Medicus and by you. We celebrate
and thank you, our long-standing patrons and
also our newest friends. Your loyalty, generosity,
adventurous spirit, and sheer love of music fuel
our enduring success.
We celebrate the artistry and skill of our
outstanding musicians, and we will highlight
their stories and accomplishments throughout
the year. We celebrate our artistic triumphs, from
our first Grammy award in January to our 31st
ASCAP award in June — more than any orchestra
has received. This national recognition has
strengthened our commitment to champion new
work by America’s most celebrated composers,
including this year’s mentor composer Michael
Daugherty, composer-educator Clint Needham,
and the amazing six-composer collective Sleeping
Giant. At the same time, we have been awarded
significant grants to support these composer
residencies and our American Music Festival,
recording projects, and education programs by the
Mellon Foundation, New York’s REDC, New Music
USA, and other foundations.
This influx of creative talent and nationwide
support energizes and renews the cultural
landscape of the Capital Region, all thanks
to the inspired vision of our beloved Maestro
David Alan Miller. This season focuses on a
theme of Migrations, prompted by the concerto
“Migration Series,” a centerpiece of this year’s
Festival. Composer Derek Bermel was inspired
by Jacob Lawrence’s paintings expressing the
hope, struggle, and perseverance of millions of
African Americans who left the rural south during
the Great Migration in search of a better life.
David Alan Miller has envisioned a season that
encourages us to explore and share our ancestral
heritage and personal stories. Together, we will
celebrate the rich tapestry created by our own
diverse and colorful experiences.
MESSAGE FROM THE
BOARD CHAIR
You can feel the pulse of this creative energy
beyond our concert halls — at lively, engaging
pre-concert talks with composers and guest artists,
with fellow music lovers at our social gatherings,
with Albany Symphony musicians during
classroom visits, at songwriting workshops where
guest composers empower middle school students
to tell their stories — in all of the synergistic
collaborations we have with arts, educational,
social service, and business partners across
our community.
Throughout this season — full of treasured classics
and cutting-edge world premieres, with a bit of
bluegrass, baroque, and jazz — the music will
energize us, weave through us, and connect us.
Thank you for joining us on the adventurous
musical journey through our 85th season!
Marisa Eisemann, MD
for the Albany Symphony Board of Directors
2014-2015 SEASON / 13
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At M&T Bank, we know how important it is to support artists of all kinds.
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Philadelphia, Pittsburgh and San
Francisco, as well as the New World
Symphony, the Boston Pops and the
New York City Ballet. In addition, he
has appeared frequently throughout
Europe, Australia and the Far East as
guest conductor. He made his first
guest appearance with the BBC Scottish
Symphony in March, 2014.
Mr. Miller received his Grammy Award
in January, 2014 for his Naxos recording
of John Corigliano’s “Conjurer,” with
the Albany Symphony and Dame Evelyn
Glennie. His extensive discography
also includes recordings of the works of
Todd Levin with the London Symphony
Orchestra for Deutsche Grammophon,
as well as music by Michael Daugherty,
Kamran Ince, and Michael Torke for
London/Decca, and of Luis Tinoco for
BIOGRAPHY
DAVID ALAN MILLER
MUSIC DIRECTOR
Grammy Award-winning Conductor
David Alan Miller has established
a reputation as one of the leading
American conductors of his generation.
Music Director of the Albany Symphony
since 1992, Mr. Miller has proven
himself a creative and compelling
orchestra builder. Through exploration
of unusual repertoire, educational
programming, community outreach and
recording initiatives, he has reaffirmed
the Albany Symphony’s reputation
as the nation’s leading champion of
American symphonic music and one of
its most innovative orchestras. He and
the orchestra have twice appeared at
“Spring For Music,” an annual festival
16 / albanysymphony.org
of America’s most creative orchestras
at New York City’s Carnegie Hall. Other
accolades include Columbia University’s
2003 Ditson Conductor’s Award, the
oldest award honoring conductors for
their commitment to American music,
the 2001 ASCAP Morton Gould Award for
Innovative Programming and, in 1999,
ASCAP’s first-ever Leonard Bernstein
Award for Outstanding Educational
Programming.
Frequently in demand as a guest
conductor, Mr. Miller has worked with
most of America’s major orchestras,
including the orchestras of Baltimore,
Chicago, Cleveland, Detroit, Houston,
Indianapolis, Los Angeles, New York,
Naxos. His recordings with the Albany
Symphony include discs devoted to the
music of John Harbison, Roy Harris,
Morton Gould, Don Gillis, Peter Mennin,
and Vincent Persichetti on the Albany
Records label.
A native of Los Angeles, David Alan Miller
holds a bachelor’s degree from the
University of California, Berkeley and a
master’s degree in orchestral conducting
from The Juilliard School. Prior to his
appointment in Albany, Mr. Miller was
Associate Conductor of the Los Angeles
Philharmonic. From 1982 to 1988, he
was Music Director of the New York
Youth Symphony, earning considerable
acclaim for his work with that ensemble.
Mr. Miller lives with his wife and three
children in Slingerlands.
“1964”... The Tribute
Fri, Sept 19
Béla Fleck & Abigail Washburn
Fri, Oct 24
Postmodern Jukebox
Sat, Oct 25
Bruce Hornsby
Sat, Nov 1
Kathleen Madigan
Madigan Again
Sat, Nov 8
Arlo Guthrie
Thu, Nov 13
Judy Collins
Fri, Nov 21
Jim Brickman
Thu, Dec 11
Chris Thile
Edgar Meyer
and
October 10, 2014
Troy Savings Bank Music Hall
Corner of State & Second Sts, Troy, NY
518.273.0038
troymusichall.org
Keeping Your Health in Harmony
CDPHP® helps members take control of their
health by offering personal support and wellness
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We proudly support the
Albany Symphony Orchestra.
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ALBANY SYMPHONY MUSICIAN
HOUSING PROGRAM
Did you know that many of the musicians of the Albany Symphony do not live in the Capital
Region? Musicians travel from New York, Boston even as far as Montreal to play with the Albany
Symphony. Typically when a musician comes to play here they are here Thursday night through
Sunday. Through the generosity of local donors The Albany Symphony Musician Housing Program
was created. This is a critical part of our organization which enables us to attract musicians of the
highest caliber. Without the generosity and support of our host families we would not be able to
maintain the high caliber of musicians who are members of our orchestra. Many of our hosts have
created strong bonds with the musicians that stay with them, creating friendships that will last a
lifetime. Charles Buchanan has been hosting musicians since 2009. Below are some insights into
his experience as a host.
How long have you been hosting
musicians of the Albany Symphony?
Since 2009, so this will be my 6th year
as a host.
What is your favorite part
of hosting musicians?
My favorite part of hosting (besides getting
to know the musicians, who are all extremely
talented and distinctly unique individuals)
is when I am sitting in my home on Saturday
mornings, reading the paper and drinking
coffee and the sounds of the instruments fill
the house as the musicians practice for the
evening performance.
One of my recent musicians apologized
before he practiced for “disturbing me”,
and I told him that he has to practice
on Saturday morning. It is a requirement,
passed down from David Alan Miller, and
I am to report him if he doesn’t practice!
Why do you think other people should
consider being hosts?
I think hosting is an important part of the
ways in which people can contribute to the
ASO. It would be good to have extra hosts if
possible because there are months that I am
away and cannot host, and I’m sure the other
hosts have similar circumstances.
People who should consider it are those who
have adult children who have moved out,
or are away at college (the ASO schedule
coincides with the college semesters).
I know, for me, it is a good excuse to clean
the upstairs bedrooms once in a while.
We hope that you will consider becoming
a member of the Albany Symphony
Musician Housing Program. If you are
interested please contact Susan Libby,
Personnel Manager & Housing Coordinator
at cellist@nycap.rr.com.
Capital District Physicians’ Health Plan, Inc.
Capital District Physicians’ Healthcare Network, Inc.
CDPHP Universal Benefits,® Inc.
2014-2015 SEASON / 19
The Albany Symphony Orchestra’s string sections use revolve
seating. Players behind the stationary chairs change seats
systematically and are listed alphabetically.
VIOLIN
Jill Levy
CONCERTMASTER
LIFETIME CHAIR, GOLDBERG
CHARITABLE TRUST
Eiko Kano
ASSISTANT CONCERTMASTER
Elizabeth Silver ^
Jamecyn Morey ^
Paula Oakes ^
Funda Cizmecioglu
PRINCIPAL SECOND VIOLIN
Mitsuko Suzuki
ASSISTANT PRINCIPAL
SECOND VIOLIN
Barbara Lapidus ^
Gabriela Rengel ^
John Bosela
Brigitte Brodwin
Natalie Favaloro
Ouisa Fohrhaltz
Heather Frank-Olsen
Margret E. Hickey
Shenghua Hu
Christine Kim
Aleksandra Labinska
Yinbin Qian
Muneyoshi Takahashi
Harriet Dearden Walker
VIOLA
Noriko Futagami
PRINCIPAL
ENDOWED IN PERPETUITY BY THE
ESTATE OF ALLAN F. NICKERSON
BASS
Bradley Aikman
PRINCIPAL
Eric J. Latini
TROMBONE
Greg Spiridopoulos
ASSISTANT PRINCIPAL
Karna Millen
Philip R. Helm
Michael Fittipaldi ^
Luke Baker
James Caiello
Jeffrey Herchenroder
FLUTE
Floyd Hebert
PRINCIPAL
Albert Brouwer
OBOE
Karen Hosmer
PRINCIPAL
Grace Shryock
Nathaniel Fossner
ENGLISH HORN
Nathaniel Fossner
CLARINET
Susan Martula
PRINCIPAL
IN MEMORY OF F.S. DEBEER, JR.
-ELSA DEBEER
IN MEMORY OF JUSTINE R.B. PERRY
-DAVID A. PERRY
Weixiong Wang
CELLO
Susan Ruzow Libby
William Hestand
BASSOON
Stephan Walt
PRINCIPAL
ENDOWED IN PERPETUITY BY THE
ESTATE OF RICHARD SALISBURY
Erica Pickhardt
HORN
William J. Hughes
Petia Kassarova ^
Kevin Bellosa
Matthew Capobianco
Joseph Demko
Alan Parshley
Victor Sungarian
ASSISTANT PRINCIPAL
TRUMPET
Eric M. Berlin
PRINCIPAL
Carla Bellosa
Sharon Bielik
Daniel Brye
Ting-Ying Chang-Chien
Dana Huyge
Susan Saint-Amour
PRINCIPAL
ORCHESTRA PERSONNEL
Marie-Thérèse Dugré
Guy Fishman
Catherine Hackert
ALBANY SYMPHONY
PRINCIPAL
BASS TROMBONE
Patrick James Herb
TUBA
Nathan Turner
PRINCIPAL
TIMPANI
Kuljit Rehncy
PRINCIPAL
PERCUSSION
Richard Albagli
PRINCIPAL
Mark Foster
Scott Stacey *
HARP
Lynette Wardle
PRINCIPAL
PERSONNEL MANAGER
Susan Libby
LIBRARIAN
Elizabeth Silver
UNION STEWARD
Nathaniel Fossner
SYMBOL KEY
^ STATIONARY CHAIR
+ ON LEAVE
* SUBSTITUTE FOR
2014-2015 SEASON
PRINCIPAL
2014-2015 SEASON / 23
For more information, visit www. albanysymphony.com or www.vanguard-aso.org
Free Lunchtime
Music Series
Albany Symphony Orchestra
& Vanguard-Albany Symphony, Inc. present
Bring your lunch and join us
on FRIDAYS at Noon
PreVue
Music Director David Alan Miller conducts
lively interviews with Albany Symphony
guest artists on Fridays at noon prior to
symphony concerts.
Join us at the Albany Public Library at 161
Washington Ave as we get "Up Close and
Personal" with the amazing guests that
grace the Symphony’s stages.
September 5
October 17
November 21
December 19
January 16
February 21
March 21
April 17
May 15
Free and open to the public
Complimentary coffee, tea,
and cookies provided.
Music novices and symphony buffs are all
welcome! Enjoy your lunch as you learn
more about our exciting guest artists and
the music they make.
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We take so much for granted.
We trust the sun will rise in the morning, the moon will come up at night and
the live music performed by the Albany Symphony Orchestra will always be
available for an evening’s entertainment or a children’s concert. Well we can
be as sure as we are of anything that the sun will rise and the moon will light
the evening skies. Whether the enchanting, inspiring live music of the Albany
Symphony Orchestra will always be available for an evening out or a children’s
concert depends on you and me and so many more like us.
Vanguard helps to raise funds to make that music possible. Dedicated
women and men spend countless hours planning and executing a myriad of
fundraising activities throughout the year. Our members usher at concerts,
provide gift bags to visiting artists, and house musicians. They secure muchneeded funds to pay for tickets and transportation for children who might not
otherwise ever be exposed to the thrill of a live performance orchestrated just
for them. Vanguard collects gently used instruments and has them refurbished
for local schools to utilize in their music programs. Maybe the next Joshua
Bell or Yo-Yo Ma will be inspired by an instrument that he or she might never
had access to. Vanguard also provides and serves food to the musicians on
the night of concerts. But those things are just a few of the wonderful services
Vanguard offers to the Symphony and the community.
All of these wonderful activities that Vanguard engages in help to defray the
costs that might otherwise burden the Orchestra.
If you have not joined and would like to know more about upcoming
trips, social events or volunteer opportunities please go to our website,
vanguard-aso.org, or watch for our newsletter for details.
Soundcard is our NEW student
membership program. Students
can become members for only
$25 and book free tickets to our
Classical Subscription concerts
throughout the year!
JOIN TODAY!
518.694.3300
albanysymphony.org
Current students only. Must show valid student ID
or class schedule. 1 free ticket per membership per
show. Quantity limited. Tickets can be booked 2
weeks prior to each concert only. Students will be
notified via email when reservations can be made.
Come join us, meet like-minded people,
and keep the music alive.
-Suzanne Waltz, President, Vanguard-Albany Symphony, Inc.
Defining the Face of Tech Valley
40 Beaver Street • Albany, New York • (518) 432-4500
www.omnidevelopment.com
www.omnimanagement.com | www.omnihousing.com
AWARD_4.875x7.625.indd 1
1/3/12 12:03 PM
MUSICIAN SPOTLIGHT
JOSEPH DEMKO
FRENCH HORN
Where are you from?
Alexandria, VA, originally. I currently live in
Haverhill, MA, about 35 miles north of Boston.
How did you pick the French horn?
In a way, it picked me. On my band sign-up form
in Fourth Grade we got to select three instruments
we were interested in. My choices in order of
preference were: trumpet, clarinet, French horn. My band director had me try all three instruments
and said I wasn’t very good at trumpet or clarinet,
but that I was a natural at the horn. I think my
band director was so excited that someone put
down French horn on their form that he kind of
bamboozled me into playing it. But he was right,
I ended up loving it!
Where did you go to school?
New England Conservatory of Music, Boston, MA.
How long have you been in the
Albany Symphony?
I joined the ASO in 2008.
Do you know how many premieres
you have played on at the Albany Symphony?
Wow, I actually don’t—it is a lot, though! And
that is a testament to how dedicated the ASO is to
premiering new works—I have done so many,
I can’t keep track. In no other orchestra I play
with, would that be the case!
28 / albanysymphony.org
What else do you do besides playing
with the Albany Symphony?
I do many things to cobble together a living. I perform with about 10-15 different orchestras
in any given year, I teach about 16 private horn
students each week, I am Personnel Manager
for an orchestra in Massachusetts, and I also
work part time from home (or from Albany, my
“other home”) as the Advertising Manager for
ArtsBoston, a non-profit arts service organization
serving the Boston arts community. ArtsBoston
serves about 170 arts groups in the greater
Boston area: everyone from the Boston Symphony
to fringe theatre companies. When you’re not playing your French horn
what are you up to?
Aside from working, performing, and teaching,
I enjoy cooking, going on walks with my Jack
Russell Terrier “Q”, exploring new wines, and
traveling with my girlfriend Carly. I also volunteer
at the Massachusetts Society for the Prevention of
Cruelty to Animals (MSPCA) a couple of days
a week. What’s your favorite ASO memory to date? Playing in Carnegie Hall for the first time in my
career with the ASO.
What is your favorite composer/music? My favorite composer is probably Shostakovich,
but I like so many this is hard to answer! I love
listening to all styles of music in addition to
classical—as long as it is real music!
Who or what has been your greatest
influence, musical or otherwise? All my horn teachers—Debbie Stephenson, Sylvia
Alimena, Daniel Katzen, and Richard Mackey. They all cared so deeply about my playing, my
career, and my overall personal development. None of them ever taught for the money, they
taught because they loved music, and that
passion was contagious. What/where are your favorite eats
in Albany/Troy? The ASO Musicians always seem to end up at the
Pump Station in Albany, DeFazio’s Pizzeria in Troy,
or Dinosaur BBQ in Troy. I love all three of
those places!
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Proudly sponsoring the Albany Symphony in its
85th season of excellence.
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ALBANY SYMPHONY
SEPT.
2014-2015 CONCERT SERIES
SPECIAL GALA EVENT: Opening
Night with Joshua Bell!
SAT., SEP. 6 AT 7 PM
PALACE THEATRE, ALBANY
Joshua Bell, violin
CLINT NEEDHAM^:
The Body Electric
ELGAR: Enigma Variations
BRUCH: Violin Concerto No. 1
in G Minor
CONCERT 1: Tchaikovsky’s
“Pathétique”
SAT., OCT. 18 AT 7:30 PM
PALACE THEATRE, ALBANY
Joyce Yang, piano
ANDREW NORMAN: Apart
RACHMANINOFF: Rhapsody on a
Theme of Paganini
TCHAIKOVSKY: Symphony No. 6,
“Pathétique”
CORELLI: Christmas Concerto
BACH: Orchestral Suite, No. 1
STRAVINSKY: Pulcinella Suite
30 / albanysymphony.org
CONCERT 7: An Evening with
Time for Three
SAT., APR. 18 AT 7:30 PM
PALACE THEATRE, ALBANY
Time for Three: Zachary DePue,
violin; Nick Kendall, violin;
Ranaan Meyer, double bass
COPLAND: Billy the Kid Suite
JENNIFER HIGDON: Concerto 4-3
DVOŘÁK: Symphony No. 9, “From
the New World”
CONCERT 4: Mendelssohn’s
“Scottish” Symphony
SAT., JAN. 17 AT 7:30 PM
PALACE THEATRE, ALBANY
Colin Currie, percussion
SIR PETER MAXWELL DAVIES:
Orkney Wedding, With Sunrise
JULIA WOLFE: rISE and fLY for
CONCERT 8: American Music
Percussion and Orchestra
Festival – Migrations
MENDELSSOHN : Symphony No.
SAT., MAY 16 AT 7:30 PM
3, “Scottish”
EXPERIMENTAL AND MEDIA
PERFORMING ARTS CENTER,
CONCERT 5: Brahms’ Third
RPI CAMPUS, TROY
Symphony
Amy Porter, Flute
SAT., FEB. 21 AT 7:30 PM
ANDREA REINKEMEYER:
SUN., FEB. 22 AT 3 PM
New work (World Premiere)
TROY SAVINGS BANK MUSIC
MICHAEL DAUGHERTY*: Lost
HALL, TROY
Vegas
Carol Jantsch, tuba
DEREK BERMEL: Migration Series
ELGAR: Serenade for Strings
for Jazz Orchestra
VAUGHN WILLIAMS: Tuba
MICHAEL DAUGHERTY*: Trail
Concerto
of Tears Concerto for Flute and
MICHAEL DAUGHERTY*:
Orchestra
Reflections on the Mississippi
CLINT NEEDHAM^: We Are All
Concerto for Tuba and Orchestra From Somewhere Else (World
BRAHMS: Symphony No. 3
Premiere)
CONCERT 2: Beethoven’s
Pastorale
SAT., NOV. 22 AT 7:30 PM
PALACE THEATRE, ALBANY
Mei-Ann Chen, conductor
Caroline Goulding, violin
OSVALDO GOLIJOV: Last Rounds
MENDELSSOHN: Violin Concerto
BEETHOVEN: Symphony No. 6,
“Pastorale”
CONCERT 6: All Mozart
SAT., MAR. 21 AT 7:30 PM
SUN., MAR. 22 AT 3 PM
CONCERT 3: A Winter’s Tale
Troy Savings Bank Music Hall,
SAT., DEC. 20 AT 7:30 PM
Troy
SUN., DEC. 21 AT 3 PM
TROY SAVINGS BANK MUSIC
Albany Pro Musica, chorus
HALL, TROY
MOZART: Requiem
Julie Albers, Cello
New setting of Requiem in collaboration
MICHAEL TORKE: The Winter’s
with Sleeping Giant composer consortium.
Tale for Cello and Orchestra
Residency funded by New Music USA.
(World Premiere)
THESE CONCERTS
ARE SPONSORED BY:
6
*Andrew W. Mellon Mentor Composer
^Andrew W. Mellon Composer Educator
Programs & guest artists subject to change.
The Albany Symphony Classical Performance Series is made possible with
public funds from the New York State Council on the Arts – a state agency, grants
from the National Endowment for the Arts, the Andrew W. Mellon Foundation,
the Capital District Regional Economic Development Council, the Amphion
Foundation, the Alice M. Ditson Foundation, the Aaron Copland Fund for Music,
the Bender Family Foundation, funding from Vanguard-Albany Symphony;
underwriting from our sponsors; and the support of our donors and subscribers.
7:00 PM
PALACE
THEATRE
OPENING NIGHT WITH JOSHUA BELL!
David Alan Miller, conductor
Joshua Bell, violin
Clint Needham*
The Body Electric
(B. 1981)
Edward Elgar
Variations on an Original Theme for Orchestra
(1857 – 1934)
(“Enigma”), Op. 36
Theme (Enigma: Andante)
Variation I (L’istesso tempo) “C.A.E.”
Variation II (Allegro) “H.D.S-P.”
Variation III (Allegretto) “R.B.T.”
Variation IV (Allegro di molto) “W.M.B.”
Variation V (Moderato) “R.P.A.”
Variation VI (Andantino) “Ysobel”
Variation VII (Presto) “Troyte”
Variation VIII (Allegretto) “W.N.”
Variation IX (Adagio) “Nimrod”
Variation X (Intermezzo: Allegretto) “Dorabella”
Variation XI (Allegro di molto) “G.R.S.”
Variation XII (Andante) “B.G.N.”
Variation XIII (Romanza: Moderato) “ * * * “
Variation XIV (Finale: Allegro Presto) “E.D.U.”
Max Bruch
Violin Concerto No. 1 in G minor, Op. 26
(1838 – 1920)
I. Vorspiel: Allegro moderato
II. Adagio
III. Finale: Allegro energico
Joshua Bell, Violin
THIS CONCERT WILL BE PERFORMED WITH NO INTERMISSION.
* Andrew W. Mellon Composer Educator
Joshua Bell appears by arrangement with IMG Artists LLC, Carnegie Hall Tower,
152 West 57th Street, 5th Floor, New York, NY 10019. Mr. Bell records exclusively for Sony Classical.
this concert is sponsored by: Dr. Heinrich Medicus
All programs and artists are subject to change. During the performance, please silence and refrain from using mobile devices.
Recording and photographing any part of the performance is strictly prohibited.
2014-2015 SEASON / 31
SEPT.
6
Clint Needham
The music of Clint Needham has
been described as “wildly enter7:00 PM
taining” & “stunning... brilliantly
orchestrated” by the New York
PROGRAM
NOTES
Times, as well as “well-crafted and
arresting… riveting” by the Herald
Times. Needham recently served as the Music
Alive: New Partnerships Composer-in-Residence
with the Albany Symphony where his work “Everyday Life” was premiered. He will be back in Albany
during the orchestra’s 2014/2015 season as the
Andrew W. Mellon Composer/Educator-in-Residence where his work “the Body Electric” will be
performed as well as the premiere of his new work
“We Are All From Somewhere Else” on their American Music Festival.
Needham’s orchestral music has been commissioned and performed by the Minnesota Orchestra, Orpheus Chamber Orchestra, Albany Symphony, Omaha Symphony, American Composers
Orchestra, Spokane Symphony, Aspen Concert
Orchestra, Cabrillo Festival Orchestra, Sioux City
Symphony, New York Youth Symphony, Cleveland
Chamber Symphony, Texarkana Symphony, and
Symphony in C, among others. Various chamber
groups including Alarm Will Sound, the American
Brass Quintet, Aspen Contemporary Ensemble,
the Chicago Ensemble, Da Capo Chamber Players,
Fifth House Ensemble, Hawthorne String Quartet,
New York Classical Players, Dinosaur Annex, President’s Own Marine Band Brass Quintet, Camerata
Aberta, Quintet Attacca, and the Stanford Wind
Quintet have given performances of his chamber
music across the country, as well as in Europe, Brazil, Japan, and Australia.
Upcoming performances of his work include those
given by the Albany Symphony, Cleveland Chamber Symphony in collaboration with Verb Ballets,
Grand Rapids Symphony, Alarm Will Sound, Iowa
State University Orchestra, Da Capo Chamber
Players, Space Coast Symphony, Baldwin Wallace
Conservatory Wind Ensemble, the Choral Arts Initiative, Factory Seconds Brass Trio, and the Imani
Winds.
Needham’s music has been recognized with numerous awards including the International Barlow
Prize, Orpheus Chamber Orchestra’s Project 440
32 / albanysymphony.org
ries, vol. 1. Upcoming recording of his work by the
Bala Brass Quintet and Cleveland Orchestra trumpet player Jack Sutte will soon be available. For
more information, please visit clintneedham.com.
The Body Electric
Commission, Charles Ives Scholarship from the
American Academy of Arts and Letters, two ASCAP Morton Gould Awards, the William Schuman
Prize/BMI Student Composer Award, the Jacob
Druckman Prize from the Aspen Music Festival,
First Prize in the International Ticheli Composition
Contest, the Heckscher Prize from Ithaca College,
a Lee Ettelson Composer Award and the coveted
Underwood New Music Commission from the
American Composers Orchestra. Clint is also the
recipient of a 2014 Cleveland Creative Workforce
Fellowship with funding from the Cuyahoga Arts
& Culture.
As an educator, Needham currently serves as Composer-in-Residence/Assistant Professor of Music at
the Baldwin Wallace Conservatory of Music. He
has served as an Associate Instructor at Indiana
University Jacobs School of Music as well as Assistant Professor of Music at Ohio Wesleyan University. He holds degrees from Indiana University,
where he was a four-year Jacobs School of Music
doctoral fellow in composition, and from the Baldwin Wallace Conservatory of Music. His principal
teachers include Claude Baker, Loris Chobanian,
David Dzubay, Michael Gandolfi, Per Mårtensson,
Sven- David Sandström, and Richard Wernick. He
has also studied with Robert Beaser, Syd Hodkinson, Christopher Rouse, and George Tsontakis
at the Aspen Music Festival as a Susan and Ford
Schumann composition fellow and with Mario Davidovsky at the Wellesley Composers Conference
as a composition fellow.
Needham’s music is published by the Theodore
Presser Company with additional works published
by Manhattan Beach Music and Triplo Press. Recordings of his works can be found on the Summit
Records and Mark Masters labels, by the United
States Air Force Band of the West, and from the
American Composers Orchestra Digital Release se-
Scoring: 2 flutes, piccolo, 2 oboes, 2clarinets, bass
clarinet, 2 bassoons, 2 French horns, 2 trumpets, 2
trombones, bass trombone, timpani, percussion,
piano, harp, strings. Performance Time: 8 minutes.
The Body Electric draws inspiration from Walt
Whitman’s poem “I Sing the Body Electric.” (This
is my second Whitman-inspired work, following a
setting I did a few years ago of “Crossing Brooklyn
Ferry,” also from Leaves of Grass.) Capturing the
overall mood of this epic poem in a composition
seemed impossible. Because of the inherent abstract nature of purely instrumental music, writing
a musical blow-by-blow description of the poem
seemed equally impossible. My solution was to
take three fragments of the poem and focus on
conveying their particular moods. In the score,
I have included a line at the beginning of each major section: “the Body electric,” “A diving nimbus
exhales” and “the Body at auction.” The sections,
arranged in a fast-slow-fast manner, last about
three minutes each.
-CONCERT NOTE BY CLINT NEEDHAM
Max Bruch
A heavy tome called The World of Music, compiled
and edited by K.B. Sandved and published in
1954, has this to say about the German composer Max Bruch (1838-1920): “His compositions,
including several tuneful choral works, were extremely popular in his day, but today most of them
seem academic and lacking in originality.”
OK, so you may have heard only the Scottish Fan-
tasy, the Kol Nidrei (for cello and
SEPT.
orchestra), and this well-known
concerto, but these pieces form a
tidy musical legacy indeed. Add
7:00 PM
to these artistic successes his repPROGRAM
utation as both conductor (Royal
NOTES
Liverpool Philharmonic, 1880-83;
Royal Scottish National Orchestra,
1898-1900) and teacher and the warm regard of
his contemporaries and you have about as satisfying a career as a person might have over 82 years.
6
Concerto for Violin and Orchestra No. 1
Scoring: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons,
4 horns, 2 trumpets, timpani, and strings.
Performance Time: approximately 24 minutes.
To read the story of the development of the Romantic violin concerto is to read the story of violinist Joseph Joachim (1831-1907). Schumann,
Brahms, Dvořák, and Bruch owed much of the
success of their beautiful concertos to the suggestions of, and performances by, this fiddler. After a
premiere in 1866, Bruch’s concerto was sent off
to Joachim for additional tweaking, and the new
version received its debut in 1867, with Joachim
handling the solo part.
The concerto opens rhetorically; that is, the orchestra makes a statement, followed by one by the solo
violin, followed by the orchestra, then once again
the violin. Shortly, there is a dramatic outburst,
and the movement is off and running. A beautiful second theme emerges, and both tunes get a
workout in the development section. The recapitulation comes, but there is no typical cadenza;
instead, there is a seamless transition to the second movement, which contains three gorgeous
themes. Halfway through, the movement seems
almost to come to a close, but Bruch invests the
tranquil mood with dramatic trills, volume, and a
new level of passion, all of which make the melodies themselves thrilling. But the adagio is really
about calm, and the movement concludes just so.
The agitated strings announce a palate-cleansing
third movement, with gypsy color (courtesy of Joachim, as one commentator suggests) evident. The
movement is in rondo form, meaning the lively
tune that opens the finale is the glue that holds its
various sections together. Now the soloist gets to
2014-2015 SEASON / 33
SEPT.
6
7:00 PM
PROGRAM
NOTES
be brilliant, with fistfuls of double
stops and fleet fingerwork. There
are still scrumptious melodies, of
course, but this seven-and-a-halfminute movement is really all
about pizazz.
The Albany Symphony Orchestra
last played this concerto at the Palace Theatre, on
January 17, 2009, with William Hagen as the soloist, and David Allan Miller conducting.
-CONCERT NOTE BY PAUL LAMAR
to; or tonight’s marvelous work, the one that put
him on the composing map in 1899. For you, the
Elgar lovers, he is now, 80 years after his death,
one of the old masters.
Variations on an Original Theme
(“Enigma”)
Scoring: 2 flutes (one doubling piccolo), 2 oboes,
2 clarinets in B flat, 2 bassoons, contrabassoon,
4 horns in F, 3 trumpets in F, 3 trombones, tuba,
timpani, side drum, triangle, bass drum, cymbals,
organ, and strings. Performance Time: approximately
30 minutes.
The composing technique of theme and variations
seems to be equally interesting for composer and
listener; that is, the composer delights in having
to be increasingly inventive, and the audience is
led a merry chase through the nooks and crannies
of the composer’s imagination, trying to keep
track of the theme.
Edward Elgar
How you take the commentary you read about
Sir Edward Elgar (1857-1934) depends on your
predisposition toward his music. If you like him,
you will defend against charges of sentimentality; rather, his music seems warm and heartfelt.
You won’t care that some have suggested he
was too much under the influence of Brahms
and Wagner; what’s wrong with great melodies?
You will refute that he’s so English he’ll never be
universal; across the pond the Albany Symphony
has often programmed him. And you will positively resent one Adolfo Salazar’s contention that
Elgar’s symphonies “possess a faint perfume of
the drawing-room, an aristocratic air which made
appropriate Elgar’s appointment as Master of the
King’s Musick.”
If you enjoy Elgar, it might be because you
stepped gravely down the aisle at your high school
graduation to the beat (almost) of his Pomp and
Circumstance No. 1. Or perhaps it’s because he
has proven himself over and over to you in the two
symphonies (1900 and 1911); the super-scaled
Violin Concerto; the ravishing song cycle Sea Pictures; the haunting post-World War I Cello Concer34 / albanysymphony.org
It’s a time-honored technique. Mozart, for example, used a familiar French tune (“Ah! Vous dirai-je,
Maman”) as the theme of his variations, K. 265.
Brahms wrote piano variations based on a theme
by Handel. Rachmaninoff composed a rhapsody
for piano and orchestra using a caprice by violinist
Niccolo Paganini as his starting point.
Elgar took yet another approach: he composed
the original theme and then provided 14 variations for it. In the process he created something of
a two-fold mystery. He alluded to the fact that each
of 12 of the variations was built around the personality trait of a friend, but it wasn’t until after his
death that the names of these friends were known.
(Their initials follow each variation in tonight’s
program.) For example, number three is dedicated to Richard Baxter Townshend, an actor who, as
Edward Downes notes, was known for “a trick of
suddenly shifting from a deep voice to a falsetto”
(woodwinds). Variation number seven refers to
a combative friend, Arthur Troyte Griffith (kettledrums, brass). Number nine, called “Nimrod,” in
honor of his friend August Jaeger, is sometimes
excerpted, and no wonder: marked adagio, it is
stately and moving, a fitting tribute to a conversation the two men once had about the greatness
of Beethoven. And you’ll know you’re at variation
number 12 when you hear the solo cello: it’s ded-
icated to a cellist friend of Elgar’s. Bookending the
dozen are the first variation, describing his adored
wife, Alice; and the last, a self-portrait.
But the larger mystery—and the source of the title
“Enigma”—refers to Elgar’s veiled suggestion that
the original tune he composed was not so significant for him as a composer as another well-known
tune that subtly influenced him during the piece’s
composition. What that source material was he
never said. Of course, musicologists were off and
running, trying to discover what that unnamed inspiration could be, and over the years tunes like
“Auld Lang Syne” and “God Save the Queen” have
been proposed.
It in no way diminishes the work’s
pleasure not to know the enigma.
What we have is a splendid orchestral score that is full of orchestral color, quicksilver changes in
mood, variety in tempi, and a coda
that majestically caps the previous
30 minutes.
SEPT.
6
7:00 PM
PROGRAM
NOTES
The premiere of the version played tonight occurred on September 13, 1899, with the composer
conducting. The Albany Symphony Orchestra last
played the work at the Palace Theatre, on November 13, 201, under the baton of guest conductor
Tito Munoz.
-CONCERT NOTE BY PAUL LAMAR
Joshua Bell
Often referred to as the “poet of the violin,” Joshua
Bell is one of the world’s most celebrated violinists.
He continues to enchant audiences with his breathtaking virtuosity, tone of sheer beauty, and charismatic stage presence. His restless curiosity, passion,
universal appeal, and multi-faceted musical interests have earned him the rare title of “classical music superstar.” Recently named the Music Director
of the Academy of St. Martin in the Fields, Bell is
the first person to hold this post since Sir Neville
Marriner formed the orchestra in 1958.
In 2014 Bell reunites with his beloved Academy
of St Martin in the Fields, directing Beethoven’s
3rd and 5th Symphonies and recording the violin
concertos of Bach. He will also perform the Brahms
concerto with the legendary Vienna Philharmonic
under the baton of Paavo Järvi, and the Sibelius
with Gustavo Dudamel conducting the Los Angeles
Philharmonic. A U.S. recital tour with Sam Haywood,
a performance at the Kennedy Center with the National Symphony Orchestra and dates with the Los
Angeles Philharmonic round out the season.
An exclusive Sony Classical artist, Bell has recorded more than 40 CDs since his first LP recording at
age 18 on the Decca Label. In October, 2013 Sony
will release Musical Gifts From Joshua Bell and
Friends, featuring collaborations with Chris Botti,
Kristin Chenoweth, Chick Corea, Gloria Estefan, Renee Fleming, Placido Domingo, Alison Krauss and
others. Recent releases include The Beethoven 4th
and 7th symphonies with the Academy of St Martin
in the Fields under Bell’s leadership as music director; French Impressions with pianist Jeremy Denk,
featuring sonatas by Saint-Saens, Ravel and Franck,
At Home With Friends, Vivaldi’s The Four Seasons
with The Academy of St Martin in the Fields, The
Tchaikovsky Concerto with the Berlin Philharmonic, as well as The Red Violin Concerto, The Essential
Joshua Bell, Voice of the Violin, and Romance of the
Violin which Billboard named the 2004 Classical
CD of the Year, and Bell the Classical Artist of the
Year. Bell received critical acclaim for his concerto
recordings of Sibelius and Goldmark, Beethoven
and Mendelssohn, and the Grammy Award winning Nicholas Maw concerto. His Grammy-nominated Gershwin Fantasy premiered a new work for
violin and orchestra based on themes from Porgy
2014-2015 SEASON / 35
and Bess. Its success led to a Grammy-nominated Bernstein recording that included the premiere of
the West Side Story Suite as well
7:00 PM
as the composer’s Serenade. Bell
ARTIST
appeared on the Grammy-nomiBIOGRAPHY
nated crossover recording Short
Trip Home with composer and
double bass virtuoso Edgar Meyer,
as well as a recording with Meyer of the Bottesini
Gran Duo Concertante. Bell also collaborated with
Wynton Marsalis on the Grammy-winning spoken
word children’s album Listen to the Storyteller
and Bela Flecks’ Grammy Award recording Perpetual Motion. Highlights of the Sony Classical film
soundtracks on which Bell has performed include
The Red Violin which won the Oscar for Best Original Score, the Classical Brit-nominated Ladies in
Lavender, and the films, Iris and Defiance.
SEPT.
6
Seeking opportunities to increase violin repertoire,
Bell has premiered new works by Nicholas Maw,
John Corigliano, Aaron Jay Kernis, Edgar Meyer, Behzad Ranjbaran and Jay Greenberg. Bell also performs and has recorded his own cadenzas to most
of the major violin concertos.
In 2007, Bell performed incognito in a Washington, DC subway station for a Washington Post story
by Gene Weingarten examining art and context.
The story earned Weingarten a Pulitzer Prize and
sparked an international firestorm of discussion.
The conversation continues to this day, thanks in
part to the September, 2013 publication of the illustrated children’s book, The Man With the Violin
by Kathy Stinson illustrated by Dušan Petričić from
Annick Press.
Bell has been embraced by a wide television audience with appearances ranging from The Tonight
Show, Tavis Smiley, Charlie Rose, and CBS Sunday
Morning to Sesame Street. In 2012 Bell starred in
his sixth Live From Lincoln Center Presents broadcast titled: One Singular Sensation: Celebrating
Marvin Hamlisch. Other PBS shows include Joshua
Bell with Friends @ The Penthouse, Great Performances – Joshua Bell: West Side Story Suite from
Central Park, Memorial Day Concert performed on
the lawn of the U.S. Capitol, and A&E’s Biography.
He has twice performed on the Grammy Awards
telecast, performing music from Short Trip Home
and West Side Story Suite. He was one of the first
classical artists to have a music video on VH1 and
he was the subject of a BBC Omnibus documentary. Bell has appeared in publications ranging from
The Strad and Gramophone to Time, The New York
Times, People Magazine’s 50 Most Beautiful Peo36 / albanysymphony.org
ple, USA Today, The Wall St. Journal, GQ, Vogue and
Readers Digest among many.
In 1989, Bell received an Artist Diploma in Violin
Performance from Indiana University where he
currently serves as a senior lecturer at the Jacobs
School of Music. His alma mater honored him with
a Distinguished Alumni Service Award, he has been
named an “Indiana Living Legend” and is the recipient of the Indiana Governor’s Arts Award.
Bell has received many accolades: In 2013 he was
honored by the New York Chapter, The Recording
Academy; in 2012 by the National YoungArts Foundation, 2011 the Paul Newman Award from Arts
Horizons and the Huberman Award from Moment
Magazine. Bell was named “Instrumentalist of the
Year, 2010 by Musical America and received the
Humanitarian Award from Seton Hall University. In
2009 he was honored by Education Through Music
and received the Academy of Achievement Award
in 2008. In 2007 he was awarded the Avery Fisher
Prize and recognized as a Young Global Leader by
the World Economic Forum. He was inducted into
the Hollywood Bowl Hall of Fame in 2005.
Bell performs on the 1713 Huberman Stradivarius
violin and uses a late 18th century French bow by
Francois Tourte.
OCT.
18
18
7:30 PM
PALACE
THEATRE
TCHAIKOVSKY’S “PATHÉTIQUE”
David Alan Miller, conductor
Joyce Yang, piano
Andrew Norman
(B. 1979)
Apart
Sergei Rachmaninoff
Rhapsody on a Theme of Paganini, Op. 43
(1873–1943)
Joyce Yang, Piano
INTERMISSION
Pyotr Ilyich Tchaikovsky
Symphony No. 6 in B minor, Op. 74, “Pathétique”
(1840–1893)
I. Adagio – Allegro non troppo
II. Allegro con grazia
III. Allegro molto vivace
IV. Finale: Adagio lamentoso – Andante
Andrew Norman
Andrew Norman (b. 1979) is a composer of chamber and orchestral music. A native Midwesterner
raised in central California, Andrew studied the
piano and viola before attending the University
of Southern California and Yale. His teachers and
mentors include Martha Ashleigh, Donald Crockett, Stephen Hartke, Stewart Gordon, Aaron Kernis,
Ingram Marshall, and Martin Bresnick.
A lifelong enthusiast for all things architectural,
Andrew writes music that is often inspired by
forms and textures he encounters in the visual
world. His music explores the act of interpretation
in classical music and draws on an eclectic mix of
instrumental sounds, notational practices, and
non-linear narrative structures to do so. His distinctive voice has been cited in the New York Times
for its “daring juxtapositions and dazzling colors”
and in the L.A. Times for its “Chaplinesque” wit.
Andrew’s symphonic works, often noted for their
clarity and physicality, have been performed by
leading orchestras worldwide, including the Los
Angeles and New York Philharmonics, the Philadelphia Orchestra, the Minnesota Orchestra, the
BBC Symphony, the Orpheus Chamber Orchestra,
and the Tonhalle Orchester Zurich. Andrew’s music has been championed by some of the classical
music’s eminent conductors, including Gustavo
Dudamel, John Adams, Marin Alsop, Simon Rattle,
and David Robertson.
All programs and artists are subject to change. During the performance, please silence and refrain from using mobile devices.
Recording and photographing any part of the performance is strictly prohibited.
38 / albanysymphony.org
Andrew is the recipient of the
OCT.
2005 ASCAP Nissim Prize, the
2006 Rome Prize and the 2009
Berlin Prize. He joined the roster
7:30 PM
of Young Concert Artists as ComPROGRAM
poser in Residence in 2008, and
NOTES
held the title “Komponist für Heidelberg” for the 2010-2011 season. Andrew served for two years as Composer in
Residence with the Boston Modern Orchestra Project, and is currently Composer in Residence with
the Los Angeles Chamber Orchestra and Opera
Philadelphia. Andrew’s 30-minute string trio The
Companion Guide to Rome was named a finalist
for the 2012 Pulitzer Prize in Music.
In recent seasons, Andrew’s chamber music has
been featured at the Wordless Music Series at
Le Poisson Rouge, the MATA Festival, the Tanglewood Festival of Contemporary Music, the Green
Umbrella Series, and the Aspen Music Festival. In
May of 2010, the Berlin Philharmonic’s Scharoun
Ensemble presented a portrait concert of Andrew’s
music entitled “Melting Architecture.”
Andrew recently finished a symphony-length orchestra piece, Play, as well as a piano concerto for
Emanuel Ax. Upcoming projects include collaborations with the Calder Quartet, eighth blackbird,
Jeremy Denk, Jeffrey Kahane, Colin Currie and
Jennifer Koh.
Last Fall Andrew moved from Brooklyn to Los Angeles, where he is learning to take sunshine for
granted and where he also now teaches at the
USC Thornton School of Music. His works are published by Schott Music.
Apart
Scoring: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons,
2 French horns, 2 trumpets, trombone, strings.
Performance Time: 9 minutes.
There is always risk in live music. We listen to our
favorite pieces live not just because we want to
hear the tunes we love again, but because those
tunes we love come out different every time, and
in that silent moment before the music begins
we really have no idea what is going to happen. This is, for me, a big part of what makes live
performance so powerful. And it was also my first
thought in the long process of writing a piece for
the Orpheus Chamber Orchestra.
Sergei Rachmaninoff
“Although it may sound incredible, this cure really helped me. By the beginning of the summer,
I again began to compose.”
2014-2015 SEASON / 39
OCT.
18
7:30 PM
PROGRAM
NOTES
The cure was hypnosis; the summer was that of 1900; the composer was Sergei Rachmaninoff
(1873-1943), then 27; the composition was the Piano Concerto
No.2.
The treatment, provided by Dr.
Nikolai Dahl, was for Rachmaninoff’s depression and creative paralysis, brought on by the
disastrous premiere of the Symphony No. 1 and,
some aver, an unhappy meeting with a crotchety
and belittling Tolstoy. Dahl, an amateur string
player, was so long and prominently associated
with Rachmaninoff’s recovery that in 1928, while
performing in the viola section of an orchestra in
Beirut, he was prevailed upon by colleagues and
the audience to stand and take a bow.
Of course, by that time Rachmaninoff had become fabulously famous as both piano virtuoso
and composer. He had traveled the world; he was
wealthy and living in exile from his beloved Russia
in Beverly Hills. His reputation was firmly based
on the Piano Concerto No. 3, composed for a U.S.
tour in 1909; Symphony No. 2; and many piano
pieces. In other words, Dahl’s bow was well-deserved.
Three more major works were yet to be written:
tonight’s work, the Rhapsody on a Theme of Paganini, for piano and orchestra; the Symphony No.
3; and, in 1940, his last composition, one which
many critics count among his best, the Symphonic
Dances.
Rachmaninoff remained an unabashed romantic
throughout his professional career; while other
composers explored dissonance in general or atonality in particular, he stayed the course laid out
by the masters of the 19th century. Also, the three
symphonies and the four piano concertos are in
minor keys, emblematic of his rather soulful spirit.
Rhapsody on a Theme
of Paganini
Scoring: piccolo, 2 flutes, 2 oboes, English horn,
2 clarinets in Bb, 2 bassoons, 4 horns in F, 2 trumpets
in C, 3 trombones, tuba, timpani, percussion, harp,
strings. Performance Time: approximately 25 minutes.
40 / albanysymphony.org
November 7, 1934, by the Philadelphia Orchestra,
with Stokowski on the podium and Rachmaninoff
on the bench.
The last performance of this piece by the Albany
Symphony Orchestra was on January 17, 2009, at
the Palace Theatre, with Sijing Ye at the keyboard
and David Alan Miller on the podium.
Rachmaninoff’s five piano works with orchestra
were composed over a period of 43 years, beginning with the Concerto No. 1, from 1891 (revised
in 1917), and ending with tonight’s piece, from
1934. Revisions and forms aside, these Rachmaninoff keyboard works all have similar features: full
exploitation of the piano’s range, bravura passages for the soloist, lush melodies, and dramatic
interplay between the orchestra and the pianist.
The score is a set of 24 variations built around the
theme of Paganini’s 24th Caprice for Solo Violin,
one of the most famous violin tunes of all time. A
strange feature of the Rhapsody is that it actually
begins with a variation; the theme comes right
after it, in the violins. For the next five variations
the pianist performs at breakneck speed, slowing
only at Variation 7. Here Rachmaninoff makes reference to another well-known melody, one that
also appears in his Symphonic Dances: the somber “Dies irae” figure from Gregorian chant. You’ll
hear it stated rather insistently in the piano while
bassoons and celli continue varying the Paganini.
The pace picks up again; another reference to the
“Dies Irae” appears; the mood quiets. The piece,
which began in A minor, now modulates to D minor, B-flat minor, D-flat major, and finally back to
A minor. Variation 15 shows off the soloist’s fleet
fingers.
The next notable moment comes in the 18th
Variation, one of Rachmaninoff’s most celebrated
melodies. Meltingly romantic, even for him. The
following six variations are bright and thrilling,
with only a brief slowdown at the beginning and
end of the 24th and final variation. The ending is
downright puckish.
Rachmaninoff, the keyboard virtuoso, must have
relished creating this homage to Paganini, the
reigning violin virtuoso of the previous century.
The Rhapsody was premiered in Baltimore on
Tonight’s soloist, Joyce Yang, made her ASO debut
with this work on October 20, 2001, at the Palace
Theatre, David Alan Miller conducting.
-CONCERT NOTE BY PAUL LAMAR
Part of that torture originated in
his fear of being exposed as homosexual, so perhaps the horrors
were not entirely imaginary.
OCT.
18
7:30 PM
PROGRAM
The symphony—dedicated to his
NOTES
nephew, Vladimir (Bob) Davidov,
with whom Tchaikovsky was in
love—was premiered on October 28, 1893, in
St. Petersburg, the composer conducting. The
title was reportedly given to it by the composer’s
brother Modest. The performance received mixed
reviews.
But Tchaikovsky himself was proud of this work,
whose plan, he said in his sketchbook, was “LIFE.
First part—all impulsive passion, confidence, thirst
for activity. Must be short. (Finale DEATH—result
of collapse). Second part, love; third, disappointments; fourth ends dying away (also short).” When
it was finished, he said, “I give you my word of
honor that never in my life have I been so contented, so proud, so happy, in the knowledge that I
have written a good piece.”
Pytor Ilyich Tchaikovsky
The music of Tchaikovsky (1840-1893) is indispensable in virtually every genre: ballet (think
The Nutcracker and Swan Lake); concertos (one
for violin, three for piano, and Rococo Variations
for Cello and Orchestra); operas (Eugene Onegin
and The Queen of Spades are staples); overtures
(Romeo and Juliet and 1812); songs and chamber
music; and six symphonies. In all of these works,
Tchaikovsky is the consummate romantic. His
melodies are passionate; his orchestrations are
colorful; his gestures are bold. Some discredit him
for wearing his heart on his sleeve, but he was inventive enough not to be merely an exhibitionist.
Symphony No. 6 in B Minor
(“Pathetique”)
Scoring: 3 flutes (3rd doubling piccolo), 2 oboes,
2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, strings
Performance Time: approximately 50 minutes
As Wilson Strutte notes, “The real tragedy of
Tchaikovsky is that he spent a great part of his life
under the shadow of imaginary horrors created
by his own sensitive nature and tortured nature.”
Nine days after the symphony’s debut Tchaikovsky
was dead. Modest claimed that his brother knowingly, and cavalierly, drank a glass of unboiled
water during a cholera epidemic, contracted the
disease, and died. Others say that Tchaikovsky was
basically in a sunny mood, so why would he wish
to kill himself? In any case the symphony’s final
movement is a fitting dirge for a complex man
who, over 53 years, survived life’s strains and produced music that moves, charms, and consoles.
The first movement begins in the depths of the orchestra, with a brooding bassoon solo that sets up
the character of this work in B minor. About fourand-a-half minutes into the movement comes a
poignant melody in the strings. It is followed by
a lighter section, and then the tune returns with
great drama. The clarinet picks up the melody,
creating a bridge to a development section that
plays with the material from the beginning in an
extroverted fashion, with the theme now echoed
by one section of the orchestra after another. Suddenly the mood turns mournful again, preparing
the way for the recapitulation of the chief theme
of heartbreak. The last minute features plucked
strings and chordal statements in the brass and
the winds.
2014-2015 SEASON / 41
The second movement is odd because you can’t quite find the beat.
It has the earmarks of a lilting,
elegant waltz, but the meter is, in
7:30 PM
fact, 5/4, not ¾. While the marking
PROGRAM
is Allegro con grazia, the lightness
NOTES
of the tempo is somewhat compromised by the darkness of the material itself.
OCT.
18
The strings get the third movement off to a pellmell start. The tune of this march is jaunty at times,
martial at others. But clearly everything is winding up to a thrilling apotheosis. Tempi are double-timed and winds and strings sail up and down
the scale. Strings provide a running commentary
under all the sprightly punctuation by various instruments. What a terrific ending to a symphony!
Of course, this is not the end. Don’t applaud,
because what follows is one of the most
heart-wrenching slow movements in the symphonic literature. How shocking it must have
been for the opening night orchestra to encounter a finale which thwarted their expectations. The
movement begins with a cry from the strings, in
the form of a descending scale, the line is divided between first and second violins. Nearly three
minutes into the movement a breathtakingly
beautiful theme appears, perhaps a reaffirmation
of life in the face of death. As the work draws to
a close, however, the music descends through the
parts of the orchestra, extinguished, finally, by
the bass section (remember the opening?), which
fades away into nothingness.
The Albany Symphony Orchestra last performed
this piece on April 23, 2010, at the Palace Theatre,
David Alan Miller conducting.
-CONCERT NOTE BY PAUL LAMAR
Joyce Yang
Blessed with “poetic and sensitive pianism”
(Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), pianist Joyce
Yang captivates audiences across the globe with
her virtuosity, lyricism, and magnetic stage presence. At just 27, she has established herself as one
of the leading artists of her generation through
her innovative solo recitals and collaborations with
the world’s top orchestras. In 2010 she received an
Avery Fisher Career Grant, one of classical music’s
most prestigious accolades.
Yang came to international attention in 2005
when she won the silver medal at the 12th Van
Cliburn International Piano Competition. The
youngest contestant, she took home two additional awards: the Steven De Groote Memorial Award
for Best Performance of Chamber Music (with the
Takàcs Quartet) and the Beverley Taylor Smith
Award for Best Performance of a New Work.
Since her spectacular debut, Yang has blossomed
into an “astonishing artist” (Neue Zürcher Zeitung), and she continues to appear with orchestras around the world. She has performed with
the New York Philharmonic, Chicago Symphony,
42 / albanysymphony.org
Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Baltimore Symphony, Houston Symphony, and BBC Philharmonic
(among many others), working with such distinguished conductors as Edo de Waart, Lorin Maazel,
James Conlon, Leonard Slatkin, David Robertson,
Bramwell Tovey, and Jaap van Zweden. In recital,
Yang has taken the stage at New York’s Lincoln
Center and Metropolitan Museum; the Kennedy
Center in Washington, DC; Chicago’s Symphony
Hall; and Zurich’s Tonhalle.
During the 2013-14 season, Yang completes her
Rachmaninoff cycle with de Waart and the Milwaukee Symphony Orchestra, makes her debut
with the Royal Flemish Philharmonic under de
Waart in Belgium, performs as concerto soloist
in Brazil, and returns to symphony orchestras including those of Fort Worth, Houston, Nashville,
Melbourne, Seoul, and Vancouver. She plays solo
recitals in Washington, DC, Houston, and Seattle,
and appears at the Kennedy Center with violinist
Augustin Hadelich and guitarist Pablo Sáinz-Villegas in the multimedia “Tango, Song, and Dance”
project. Other chamber collaborations include
concerts with the Alexander String Quartet and
Modigliani Quartet, duo recitals with Hadelich
in Dallas and Los Angeles, and a residency at the
Hong Kong International Chamber Music Festival.
Her busy summer includes solo, chamber, and
concerto performances at the Aspen, Bravo! Vail,
Sun Valley, Rockport, and La Jolla festivals. Spring
2014 brings the release of Wild Dreams, Yang’s
second solo disc for Avie Records, with music by
Bartók, Hindemith, Schumann, and Rachmaninoff, and she is featured on an Alexander String
Quartet recording of the Brahms and Schumann
Piano Quintets.
The 2012-13 season saw Yang make debuts with
the Toronto and Detroit Symphonies, both led
by Peter Oundjian, and her German debut with
the Deutsches Symphonie-Orchester Berlin under Conlon. She returned to the Milwaukee and
Sydney Symphonies, and made her UK debut
in recital in the Cambridge International Piano
Series. Yang also gave solo recitals in Honolulu,
Melbourne, and Vancouver, and played chamber
music with the Takàcs Quartet. Her performance
of Schubert’s “Trout” Quintet with members of the
Emerson String Quartet at Lincoln Center’s Mostly
Mozart Festival prompted the New York Times to
praise her “vivid and beautiful playing.”
Yang made her celebrated New York Philharmonic
debut with Maazel at Avery Fisher Hall in November 2006 and performed on the orchestra’s tour of
Asia, making a triumphant return
SEPT.
to her hometown of Seoul, South
Korea. Subsequent appearances
with the Philharmonic included the
7:30 PM
opening night of the Leonard BerARTIST
nstein Festival in September 2008,
BIOGRAPHY
at the special request of Maazel in
his final season as Music Director.
The New York Times called Yang’s performance in
Bernstein’s Age of Anxiety a “knock-out.”
6
In November 2011, Yang released a solo album for
Avie Records, Collage, featuring works by Scarlatti,
Liebermann, Debussy, Currier, and Schumann.
Gramophone praised her “imaginative programming” and “beautifully atmospheric playing,”
while American Record Guide called Collage “an
outstanding first recording” and a “display of her
wide-ranging talent.”
Born in Seoul, South Korea, Yang received her first
piano lesson from her aunt at the age of four. She
quickly took to the instrument, which she received
as a birthday present, and over the next few years
won several national piano competitions in her
native country. By the age of ten, she had entered
the School of Music at the Korea National University of Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States
to begin studies at the pre-college division of the
Juilliard School in New York with Dr. Yoheved Kaplinsky. During her first year at Juilliard, Yang won
the pre-college division Concerto Competition,
resulting in a performance of Haydn’s Keyboard
Concerto in D with the Juilliard Pre-College Chamber Orchestra. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that
orchestra at just twelve years old. She graduated
from Juilliard with special honor as the recipient
of the school’s 2010 Arthur Rubinstein Prize, and
in 2011 she won its 30th Annual William A. Petschek Piano Recital Award.
Yang appears in the film In the Heart of Music,
a documentary about the 2005 Van Cliburn International Piano Competition, and she is a frequent
guest on American Public Media’s nationally syndicated radio program Performance Today. A Steinway artist, she currently lives in New York City.
2014-2015 SEASON / 43
Gary
David
Gold
Photography
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2014-2015 CONDUCTOR’S CIRCLE & CHAIR SPONSORSHIP
MEMBER BENEFITS (ALL LEVELS):
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HEINRICH MEDICUS
THE HERMAN FAMILY
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FAMILY FOUNDATION
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CLASSICAL SERIES
ALBANY SYMPHONY
2014-2015
SEASON SPONSORS
EDUCATION PARTNER
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ROGER & SHERLEY
HANNAY
This concert season has also been made possible with public funds from the New
York State Council on the Arts, a State Agency, The City Of Albany, grants from the
National Endowment for the Arts, the Aaron Copland Fund for Music, the Capital
District Regional Economic Development Council, the Andrew W. Mellon Foundation, the May K. Houck Foundation, Vanguard-Albany Symphony, and the support
of our donors, subscribers, and patrons.
2014-2015 SEASON / 49
ALBANY SYMPHONY
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FRIENDS OF DAVID ALAN MILLER
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The Albany Symphony is deeply grateful to the following individuals
whose ingoing support insures the vitality of the Albany Symphony. The
list represents gifts received from July 1, 2013 through August 14, 2014.
CONDUCTOR’S CIRCLE
(BRONZE BATON LEVEL, $2,500+)
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Anonymous (2)
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The Albany Symphony is deeply grateful to the following individuals
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list represents gifts received from July 1, 2013 through August 14, 2014.
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2014-2015 SEASON / 51
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and Sharon Freedman Advised
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The Albany Symphony is deeply grateful to the following individuals
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The Albany Symphony is deeply grateful to the following individuals
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represents gifts received from July 1, 2013 through August 14, 2014.
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Robert G. Briggs
Marianne Bross
Peter Brown
William & Nancy Brown
Everett & Lois Brownell
Bruce Brynolfson
Timothy Burch
Elizabeth L. Burns
Carolyn Callner
Richard & Lorraine Carlson
Beth Davies & George Carpinello
Ann Carrozza
William L. Cassell
Roger Charbonneau
Anne Church
Rae Clark
Mr. & Mrs. Richard Coe
Bruce & Ellen Cohen
David Connolly
Joan H. Connolly
James Conroy
Hon. Richard Conti
Steluta Cristian
Wilson Crone
Gary Cunningham
Shirley Jean Curtis
Grace Defries
Ellen deLalla
Anne Deprez
Dr. & Mrs. Anthony J.
DeTommasi
Larry & Christine Deyss
Dr. & Mrs. Frank Dimase
Peter & Marilyn Douglas
Robert S. Drew
Jack & Marcia Easterling
DeWitt & Dorothy Ellinwood
Mr. David Emanatian
Deborah Esrick
Joseph & Linda Farrell
Greg & Jean Farrington
Mr. & Mrs. John J. Ferguson
Hugh & Susan Fisher
Jean M. Fogarty
Dr. Arthur Fontijn
Muriel Frank
Nancy T. Frank
Marie G. Franke
Robert Frost
Robert J. Gallati
Eugene Garber
Dr. Janet E. Gargiulo
Carolyn Gaynor
Mr. & Mrs. Lewis Gershman
Ronald C. Geuther
Carol Gillespie & Marion E.
Huxley
Anthony Giordano
Anonymous
Charles & Karen Goddard
Gary Gold & Nancy Pierson
Jane Graham
B. H. Green
Larry & Betty Gross
Judy Grun
Thomas & Susan Hager
Joan Ham
David Harris
Dr. & Mrs. Joseph J. Hart
Kathleen R. Hartley
Lee Helsby & Joseph Roche
Daniel Hills
ALBANY SYMPHONY
INDIVIDUAL GIVING
Susan Hollander
Stu Horn
Martin Hotvet
Lucinda Huggins
Sister Patricia Conron & Rev.
Dominic Ingemie
Robert & Mary James
Eric & Priscilla Johnson
Laura H. Jonas
Amber Jones
Eileen C. Jones
Jeff Jones
Dr. Grace Jorgensen-Westney
Carol Juneau & Gail Bouck
James & Susan Kambrich
Charles & Kathleen Keese
John J. & Christine Miles
Kelliher
Tracy Kennedy
Gordon & Judy Kilby
Frederick & Doris Kirk
Edith Kliman
Anonymous
Cheryl Gelder-Kogan & Barry A.
Kogan, MD
Ronald & Nancy Kohn
Dr. Beatrice Kovasznay
James Kraft
Dan Lamont
Robert & Mary Anne Lanni
Ann Lapinski & Fred Barker
Franklin Laufer & Angela
Sheehan
Judy LeCain
Eugene J. Leff
Karen B. Levy
David & Elizabeth Liebschutz
Lawrie & Alvin Lierheimer
Donald Lipkin & Mary Bowen
Sara M. Lord
Eugene & Christine Lozner
Alexandra Lusak
Mr. & Mrs. Robert E. Lynk
Bessie Malamas
Frank & Gladys Maley
2014-2015 SEASON / 53
ALBANY SYMPHONY
INDIVIDUAL GIVING
Mr. & Mrs. John Maloy
Frank Manderville
Joseph & Patricia Mascarenhas
Dr. & Mrs. Appleton Mason III
James T. & Susan B.
McClymonds
Harry & Frances McDonald
Lillie McLaughlin
Kathleen McNamara & Larry
Litchenstein
Matthew McTygue
Richard & Beverly Messmer
Dr. & Mrs. Alan Miller
Alan Miller
David Alan Miller & Andrea Oser
Victoria Miller
Patricia Mion
Barbara P. Mladinov
Adelaide Muhlfelder
David Musser
Judith Mysliborski
William & Elizabeth Nathan
Michael & Maria Neal
Alan Parshley & David Neiweem
Willard Nelson
Arlene Nock
Toni Norton
Ned & Connie O’Brien
Donald R. Odell
Claire Olds
Jeanette Oppedisano
Kathy Ordway
Joyce & Bill Panitch
Jean Pellerin
Sarah M. Pellman
Eric Peterson
Bob & Lee Pettie
Cynthia A. Platt & David T. Luntz
Connie Powell
Alma L. Pusateri
David Quist
Paul & Margaret Randall
Barbara Raskin & Robin Tarnas
John L. Reber
Mary Redmond
54 / albanysymphony.org
ALBANY SYMPHONY
The Albany Symphony is deeply grateful to the following individuals
whose ingoing support insures the vitality of the Albany Symphony. The list
represents gifts received from July 1, 2013 through August 14, 2014.
James & Elaine Regilski
Dr. Nina Reich
Margaret M. Rendert
Joseph Lalka & Teresa
Ribadeneyra
George & Gail Richardson
Don Ruberg & Marin Ridgeway
Richard & Jill Rifkin
Nancy Roberts
Eric S. Roccario, MD
Steven & Janice Rocklin
Mrs. & Mrs. Nancy Rodgers
David & Ellen Rook
Rosemarie Rosen
Robert Sanders
Lucille Sarkissian
Donna Sawyer
Robert Scher & Emilie Gould
Ralph & Dorothy Schultz
Margaret & John A. Seppi
Mr. & Mrs. Bryan Shanley
Dolores A. Shaw
Michael & Monica Short
Elizabeth Siedhoff
Donna D. Simms
Manfred & Marianne Simon
Len & Paula Sippel
Mary Skidmore
Perry Smith & Roseanne Fogarty
John Smolinsky & Ellen Prakken
Lawrence Snyder & Lynn Ashley
Joyce A. Soltis
James Sprenger
Olaf Stackelberg
Rudy Stegemoeller
Charles & Sandra Stern
William Stewart
Larry & Jeannette Storch
Nancy Streeter
Norman & Adele Strominger
Harry & Marie Sturges
Dennis Sullivan
Christopher Suozzo
Matthew Suozzo
Richard & Carole Sweeton
Richard & Mary Tennant
Elizabeth A. Thornton
Linda Toohey
Dave & Sara Torrey
Monica Trabold
Alice Trost
Anonymous
Terry & Daniel Tyson
Hazel A. van Aernam
Patrick & Candice Van Roey
Jaime Venditti
Jimmy Vielkind
Jennifer & Bryan Viggiani
Janet Vine
Dr. David A. Wasser
Enid Watsky
Gerhard Mrs. Maryann Weber
David Weinraub
John & Dorothy Whitlock
Joan Wick-Pelletier
John & Jean Wilkinson
Dr. Carl & Mrs. Caroline Wirth
George Wise
John Wood
Frank & Elizabeth Woods
Theodore Wright & Susan
Standfast Wright
Anne & Art Young
Barbara Youngberg
Michael & Barbara Zavisky
IN HONOR, CELEBRATION, & MEMORY
In Honor of David Alan Miller
Barry & Lois Scherer
Martha Schroeder
Susan St. Amour
In Loving Memory of Donald S. Rubin
Bernice Rubin
In Honor of Miranda, Elias, and Ari Miller
Gerald Miller & Bonnie Friedman
In Loving Memory of Steve Wiley
S. H. George Allen
James & Cindy Barford
James & Joanne Barnard
Mr. & Mrs. Matthew Bender IV
William & Nancy Brown
Ann Carrozza
William L. Cassell
Bruce & Ellen Cohen
John Cordo, Esq.
Elsa G. deBeer
Anne Deprez
Jack & Marcia Easterling
Dr. Marisa Eisemann & Dr. Allan Eisemann
Emma Willard School
Greg & Jean Farrington
Featherstonhaugh, Wiley & Clyne
Colleen James
Carol Juneau & Gail Bouck
Charles & Kathleen Keese
Key Private Bank
Dan Lamont
Eugene & Christine Lozner
Dr. & Mrs. Appleton Mason, III
Kathleen McNamara & Larry Litchenstein
Matthew McTygue
Willard Nelson
New York State Association of Cemetaries
John L. & A.C. Riley
Donna D. Simms
Christopher Suozzo
Matthew Suozzo
The James W. Taylor Revocable Living Trust
Linda Toohey
UHY Advisors Ny, Inc.
Jaime Venditti
David Weinraub
John & Dorothy Whitlock
Barbara Wiley
In Honor of Faith A. Takes
Michael & Maria Neal
In Loving Memory of Hilde Bloch
Nancy Bader
Steluta Cristian
In Loving Memory of Adella Cooper
Eileen C. Jones
In Loving Memory of Frederick S. deBeer Jr.
Adelaide Muhlfelder
In Loving Memory of Allan D. Foster
Lois V. Foster
In Loving Memory of Paul Gershman
Mr. & Mrs. Lewis Gershman
In Loving Memory of Robert S. Herman
Dr. & Mrs. Neil Lempert
In Loving Memory of F. William Joynt
Dr. & Mrs. Donald Bourque
In Loving Memory of Audrey P. Kaufmann
Herbert & Judith Katz
In Loving Memory of Don B. O’Connor
Helen J. O’Connor
In Loving Memory of Jim Panton
Paul & Bonnie Bruno
Marisa & Allan Eisemann
Robert & Mary Anne Lanni
David Alan Miller & Andrea Oser
In Loving Memory of Justine R. B. Perry
Dr. David A. Perry
In Loving Memory of Vera Propp
Dr. Richard Propp
In Loving Memory of Thornton Rittlefield
Elsa G. deBeer
In Loving Memory of Dick Speers
Claire Olds
2014-2015 SEASON / 55
We invite you to create
your own legacy and join
the following members of
The Encore Society:
The Encore Society
THE FUTURE IS IN YOUR HANDS!
To keep orchestral music alive in our community, and to
ensure that future generations experience the joy of this
art form, won’t you please consider the Albany Symphony
Orchestra (ASO) when planning your estate? In addition to
naming the ASO in your will, there are several other ways
you can do this:
Charitable Bequest: Several types are possible including
Charitable Remainder Trusts, Pooled Income Funds,
Charitable Lead Trusts, Charitable Gift Annuities and
Annual Exclusion Gifts.
Retirement or Pension Plan: You can name ASO as a
beneficiary of your pension plan or IRA. This can help
reduce estate and income taxes which might be due on
these investments.
Life Insurance: You can name ASO as the beneficiary
of a new or existing insurance policy.
Add a POD or TOD Designation: Add a “pay on death”
(POD) or “transfer on death” (TOD) designation to a bank
or brokerage account, naming ASO to receive the assets.
Dr. Heinrich Medicus
Matthew Bender IV
Charles & Charlotte
Buchanan
Adella S. Cooper
Marisa & Allan
Eisemann
Steve Lobel
John L. Riley
Lewis C. & Gretchen A.
Rubenstein
Edward & Harriet
Thomas
The Albany Symphony is deeply grateful to
the foundations, corporations, & government
agencies whose ingoing support insures the
vitality of the Albany Symphony. Donors from:
July 1, 2013 through August 14, 2014.
FOUNDATIONS, CORPORATIONS,
& GOVERNMENT AGENCIES
$100,000+
$5,000+
Capital Culture
Alice M. Ditson Fund
Andrew W. Mellon Foundation
$50,000+
Capital District Regional
Economic Development
Council
City of Albany / Palace Theatre
Albany Medical Center
Ann and Gordon Getty
Foundation
Armory Automotive Group
Barry Alan Gold Memorial Fund
Bouchey Financial Group, Ltd.
Charles R. Wood Foundation
SaxBST
Stewart’s Shops
St. Peter’s Health Partners
Whiteman Osterman
& Hanna LLP
Woodland Hill Montessori
School
$1,000+
Community Care Physicians
BBL Construction Services
KeyBank Foundation
IBM Corporation
Vanguard-Albany Symphony
The Robison Family Foundation
The Music Studio
$10,000+
Saratoga Arts Fest, Inc.
Amphion Foundation
TD Charitable Foundation
$25,000+
CDPHP
New York State Council
on the Arts
J. M. McDonald Foundation Inc.
CS Architects
Lucille A. Herold Charitable Trust
Janney Montgomery Scott
Sano-Rubin Construction
Renaissance Corporation of
Albany
Aaron Copland Fund for Music
The Swyer Companies
Averill Park Education
Foundation
United Group of Cos.
Featherstonhaugh, Wiley,
Clyne & Cordo
GE Foundation
General Electric Company
Omni Development Company
M&T Charitable Foundation
To discuss these or other planned
giving options, please contact:
Susanne Keller
Development Manager
(518) 465-4755
susannek@albanysymphony.com
ALBANY SYMPHONY
Wine and Dine for the Arts
$2,500+
Academy of Holy Names
American Society of Composers,
Authors and Publishers
(ASCAP)
National Endowment for the Arts Ameriprise Financial and
Micheileen Treadwell
Naxos Rights Usa, Inc.
Comfortex Corporation
New Music USA (Formerly Meet
Drs. Bruce, Elacqua, Ford &
the Composer)
Bloomfield of OB/GYN Health
Nigro Companies
Center Associates
Price Chopper / Golub
Lingualinx
Foundation
Macy’s Corporate Services, Inc.
Prufrock Ventures, LLC
MVP Health Care
$500+
Dechants, Fuglein & Johnson
DST Systems, Inc.
Fenimore Asset
Management, Inc.
Firestone Family Foundation
Parkview Community
The Rockefeller Foundation
$250+
Tiny Tots Tea Room
$100+
Key Private Bank
The Law Office of Alexander
Powhida
Pioneer Bank
2014-2015 SEASON / 57
ALBANY SYMPHONY
SPECIAL THANKS
Mark & Connie Alesse
Matthew & Shannon Amodeo
Leigh & Edge Bagg
Mimi Bruce & David Ray
Charles Buchanan
Charles & Charlotte Buchanan
Eva & Charles Carlson
Ben Chi
Joan Connolly
Leslie & Stephen Ellis
Patricia & James Gerou
Karol & Myron Gordon
Sherry & Dick Hall
Debra & Paul Hoffman
Valerie & Frank Hughes
Marcus Jacobsen
Ray Warner
Hannelore Wilfert & Karl
Moschner
Susan & Larry Marcus
Bob Krackeler
Susan Libby
Susan Martula & David Perry
Mark & Renee Mishler
Mini Mounteer
Nancy Nickelson & Vince Manti
Deb Onslow
Robert Pastel & Nettie Lamkey
Nina Pattison
Maureen Pokal
PROUD SUPPORTERS OF THE 2015-2016 MAHLER CONCERT
Steven Einhorn
Thomas Marusak,
Comfortex
ALBANY SYMPHONY
The Albany Symphony Orchestra extends a very special thank you to patrons who
have generously provided housing for musicians during the 2013-2014 season.
Daniel P. Nolan,
Hugh Johnson Advisors
Barry Richman & Pearl Grant
Richmans
Anita Pratt
Nan Rabinow
Barbara & Paul Richer
Jan & Reese Satin
Carol Saginaw
Joan Savage
Dodie & Pete Seagle
Deb & Brad Silver
Len Sippel & Paula Peinovich
Caroline & Christopher Smith
Onnolee & Larry Smith
Andrea Vallance
Marjorie & Russ Ward
BOARD & ADMINISTRATION
BOARD OFFICERS
Marisa Eisemann, MD
BOARD OF DIRECTORS
Gemma Louise Allen
Matthew Bender IV
Melody Bruce, MD
Charles Buchanan
Benjamin E. Chi
Marcia Cockrell
Elsa G. deBeer
Ann Errichetti, MD
Nicholas J. Faso
Joseph T. Gravini
Pradeep Haldar
Anthony P. Hazapis
Edward M. Jennings
Mark P. Lasch
Cory Martin
Heinrich Medicus
John J. Nigro
CHAIRMAN
Jerel Golub
VICE CHAIR
Marc H. Paquin
VICE CHAIR
Beth Beshaw
VICE CHAIR
Christine Standish
VICE CHAIR
Spencer B. Jones
SECRETARY
David Rubin
TREASURER
Alan P. Goldberg
CHAIRMAN EMERITUS
Steven Lobel
IMMEDIATE PAST CHAIR
Edward Swyer,
The Swyer Companies
ADMINISTRATION
Lawrence J. Fried
Anne Older
Deborah Onslow
Emily Preceruti
John Regan
Barry Richman
John L. Riley
Rabbi Scott Shpeen
Faith A. Takes
Anthony P. Tartaglia, MD
Micheileen Treadwell
EX-OFFICIO DIRECTORS
Hon. Kathy Sheehan
MAYOR, CITY OF ALBANY
Suzanne Waltz
PRESIDENT, VANGUARD-ALBANY
SYMPHONY, INC.
MARKETING & DEVELOPMENT
Susanne Keller
EXECUTIVE DIRECTOR
DEVELOPMENT MANAGER
Ella Golding Montelone
FINANCE
Scott Allen
PERSONNEL MANAGER
Rachel Jason
Liz Silver
MARKETING &
DEVELOPMENT ASSOCIATE
Erica Sparrow
FINANCE ASSISTANT
MUSIC LIBRARIAN
Brian Larvia
Justin Cook
EDUCATION COORDINATOR &
GRANTS ADMINISTRATOR
Susan Libby
DIRECTOR OF MARKETING
& COMMUNICATIONS
FINANCE DIRECTOR
OPERATIONS & EDUCATION
Derek Smith
STAGE MANAGER
PATRON SERVICES
& BOX OFFICE MANAGER
Chuck Kraus
GROUP SALES MANAGER
“Bravo!”
Bausback & McGarry
F
a M i l y
Debra G. bausback, D.M.D.
Gabriel J. McGarry, D.D.s.
58 / albanysymphony.org
D
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840 Kenwood Ave. / Slingerlands, NY 12159
518-439-9939 / fax 518-439-0577
www.whbdental.com
2014-2015 SEASON / 59
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4 Atrium Drive, Suite 200
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518.438.5500 x106
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Providing Construction Services to the Capital Region
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Building
Our Community
Proud supporter of the Albany Symphony Orchestra
Providing Construction Services to the Capital Region
since 1912
Proud supporter of the Albany Symphony Orchestra
Investment advisory products and services are made available through Ameriprise
Financial Services, Inc., a registered investment adviser.
Ameriprise Financial Services, Inc. Member FINRA and SIPC.
© 2014 Ameriprise Financial, Inc. All rights reserved. (8/14)
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624 Delaware Avenue, Albany, NY
(518) 462-6471 www.sano-rubin.com
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28th season : 2014 - 2015!
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